Sweynheym and Pannartz are credited with introducing printing to Italy via their press at the monastery of Santa Scolastica at Subiaco, outside of Rome in 1465. They appear to have been relatively successful, even sending quite a number of their books to Rome itself. However, in 1467 they move their press to Rome, where by […]
vimeo: 110595851 It’s 2015 calendar season, and kicking the new year off is American illustrator and artist Matt W Moore with a vibrant collection of custom typographic treats to see you through the coming months. For $ 39, you can get your hands on 12 unique typographic treatments – and Moore’s put together a slick “behind-the-layers” time-lapse animation to show how he built up the experimental geometric artwork.
There is no height of creativity. The thing seen through an eye of designer is lot different than that of non-designer. The below given examples will clearly justify this statement where the designers have used their creative mind to turn strange things into typefaces. Check it out below! 1. Beyonce Now everybody would love to […]
Typefaces exist for a reason. They make our job as designers much, much easier, as we don’t have to consider the intricate ins and outs of designing appropriate letterforms to go with our designs. But sometimes, a font designed by someone else is not enough. Perhaps it doesn’t quite have the flair your client is looking for, or something about the design is a bit off, and just isn’t working.
When is it an appropriate time to customize the type you’re working with to suit the needs of your client? Let’s explore some ideal situations for you type-loving designers out there.
Logos are everywhere, and when too many logos begin to use typography and images that have become the standard in design circles, it can give the appearance of the logo looking the same as all the others out there. The less distinct a logo is, the more effort the client has to make to differentiate their business in other ways.
If you’re designing custom type for a business that already has an established brand, there is a whole system of protocol that you’ll need to stick to in order to ensure that the brand’s target market will still recognize the logo.
Sometimes, this can go wrong – even with big brands like Pepsi and Tropicana. When you are customizing type, it’s important to maintain cohesion with all the other visual elements that already exist in the brand’s mark.
When Your Font Library Isn’t Enough
With the amount of free and low-priced fonts out there, this one may not ever become an issue for you personally. I know I have far more typefaces than I know what to do with.
But sometimes, even that isn’t enough to satisfy a particular client’s needs, and I’ll have to dig deeper into my creativity to come up with a custom type treatment. I’ve studied type for a long time now, and I actually find that my customizations are often better than those you find at many free font depositories.
You can expand even a small font library by making custom modifications to your type. As long as you are aware of the fundamental rules of typography – weights, spacing, composition, et cetera – you can get an almost limitless variety with even the most basic set of fonts.
You can learn more about type and what goes into creating it from many, many free resources online, so there is no excuse not to do it right. The only thing worse than using a boring, standard font is customizing a boring, standard font the wrong way.
When You Want Something Familiar, Yet Different
If a totally unique font would be inappropriate for the project, yet a standard font would be lacking a certain something, the best option is to modify an existing font.
For example, say you want to use something that has the character of Helvetica, but won’t actually look like every other logo out there that uses Helvetica (is there even a way to count that many fonts?). Here, you would use a customized treatment that gives the general feel of the font you started with, but add a certain something that will make your logo really stand out from the rest of the bland, boring logos whose designers never bothered to change anything.
When You Need To Learn How Type Works
This is something that’s often overlooked, yet is very important for designers. Since type is such a fundamental component of design, there is a very good reason for all designers to learn how it works.
A lot of designers are afraid of doing custom type, because they don’t think their skills are up to par. I say: well, of course they’re not – you’ve never done it before! How else are you going to learn how to modify type if you never try it?
Some type designers will turn up their noses at the idea of graphic and web designers taking type modification into their own hands. But I don’t believe that type customization is only something that a designated type professional can or should do.
As I said, we all use type as designers – it’s a core component of our work. Why should we simply accept whatever fonts are available, even when they don’t quite fit our needs or the needs of our clients? We really shouldn’t.
What Do You Think?
Do you customize type for your design projects? What do you think designers need to learn about type in order to properly customize it when they need to?
By the 1990s, CD-ROMs and the Internet turned computer screens into the final display substrate. Those were the dark ages of on-screen typography. Designers traded in low-res compromise, bending to the will of fours, the tyranny of the pixel. Endless hours were spent on what my colleagues and I affectionately called “fat-bitting.” It was an activity hardly worth the effort. We were masons, chipping and shifting single pixels — fixing what the screen did to otherwise well intentioned letterforms. “I could be at the bar, but no… I have to fat-bit this shitty logo.”
But the clients loved the attention to detail. We took pride in pixel craft.
Fast forward to the present and Ellen Lupton’s latest book “Type on Screen” is a fascinating typographic inventory of the present. It shows us just how far we’ve come since fat-bitting. It sits alongside Lupton’s previous book “Thinking with Type” but over broadband and on a Retina display.
This book will teach you all manner of topics including type selection, web fonts, interface design, responsive design, and SVGs. There is an enlightening chapter on generative design with type and code which left me thinking about the future possibilities of type.
Reading about type in this context is inspiring. For those of us who have lived through the evolution of the craft, Type On Screen is an epic hair-metal ballad — a celebration of living squarely in the age of enlightenment of on-screen typography.
Type on Screen was authored by graduate students and faculty of MICA (Maryland Institute College of Art) and edited by Ellen Lupton. It’s available in paperback with an ebook and PDF coming soon. See the Type on Screen website for more info. Buy Type on Screen from Amazon.